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Acknowledgments | |
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Introduction: Reclaiming the Archive: Archaeological Explorations toward a Feminism 3.0 | |
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Gazing Outward: The Spectrum of Feminist Reception History | |
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Unmasking the Gaze: Feminist Film Theory, History, and Film Studies | |
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Femmes Fatales, Vampires, Vamps, and Gold Diggers: The Transformation and Narrative Value of Aggressive Fallen Women | |
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“I wanted life to be romantic, and I wanted to be thin”: Girls Growing Up with Cinema in the 1930s | |
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The “True Love” of Elizabeth Taylor and Richard Burton | |
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“She Will Never Look”: Film Spectatorship, Black Feminism, and Scary Subjectivities | |
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Rewriting Authorship | |
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Lois Weber, Star Maker | |
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Reading as a Woman: The Collaboration of Ayako Wakao and Yasuzo Masumura | |
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Women in the Nouvelle Vague: The Lost Continent? | |
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Investigating an Interval: Sarah Bernhardt, Hamlet, and the Paris Exposition of 1900 | |
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Vision and Visibility: Women Filmmakers, Contemporary Authorship, and Feminist Film Studies | |
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Black and White: Mercedes de Acosta's Glorious Enthusiasms | |
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Excavating Early Cinema | |
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Vitagraph Stardom: Constructing Personalities for “New”Middle-Class Consumption | |
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Clara, Ouida, Beulah, et. al.: Women Screenwriters in American Silent Cinema | |
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Making More than a Spectacle of Themselves: Creating the Militant Suffragette in Votes for Women | |
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Visualizing the Modern Mexican Woman: Santa and Cinematic Nation-Building | |
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Sisters in Rebellion: The Unexpected Kinship of Germaine Dulac and Virginia Woolf | |
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Constructing a (Post) feminist Future | |
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“Misty Water-Colored Memories of the Way We Were…” Postfeminist Nostalgia in Contemporary Romance Narratives | |
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On Cyberfeminism and Cyberwomanism: High-Tech Mediations of Feminisms Discontents | |
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The Birth of the Local Feminist Sphere in the Global Era: Yeoseongjang and “Trans-cinema” | |
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The Future of the Archive: An Interview with Lynn Hershman Leeson | |
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Contributors | |
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Index | |